Playwright: Jez Butterworth. At: Steep Theatre, 1115 W. Berwyn. Phone: 312-458-0722; $18. Runs through: May 9
In Parlour Song, British playwright Jez Butterworth applies the tools of poetry to mold everyday speech into pithy, rhythmic and precise dialogue which he uses to dice three characters, especially Ned, the 40-ish demolitions expert at the center of this drama of contemporary Suburban London malaise. Something is going wrong in Ned's life and he can't figure it out, as narrated by his buddy and neighbor, Dale.
Two things are happening to Ned. First, he has lost both the physical and emotional love of Joy, his wife of 11 years, and does not know why. Also, his things are disappearing, everything from gold cufflinks to fishing gear and a bloody heavy stone birdbath from the yard. To restore his physical allure Ned takes up exercise and Rogaine. He also locks his yard and storage sheds, but things keep disappearing anyway. He knows Joy is doing it as, bit by bit, his happiness and security are demolished as surely as the buildings and bridges he blows up professionally. ( Yes, it's obvious symbolism. )
We see far less of Dale and Joy, who have a self-serving affair that is neither the start nor end of Ned's problems. At least Joy is prepared to act on her dissatisfaction with her comfy suburban life and run away with Dale. But held back by a wife, two kids and a successful business, Dale ignores her while hinting to the audience that she's just one of a series of affairs he's had.
It's useful to consider Butterworth's play as poetic in part because he provides minimal information. He reveals almost nothing beyond the immediate circumstances. Do Ned and Joy have children? Does Joy work? "I have money," she tells Dale when she wants to leave with him. The source of Joy's unhappiness is never revealed or even suggested, let alone Dale's almost casual ennui. With a touch of menace, Parlour Song is far more primal than rational. It's less about these three people and more a generic swipe at material comforts and spiritual voids. In that sense, Parlour Song is not very original in theme or concept, although it is vigorously and freshly told.
This very new play—the Chicago premiere is concurrent with its London premiere—is given a first-class production by Steep Theatre at its handsome new space in Andersonville. Alex Gillmor ( Dale ) , Julia Siple ( Joy ) and Tim Curtis ( Ned ) are on top of the material and its rhythms under Robin Witt's customarily intelligent direction. Set designer Marcus Stephen's cozy and tasteful version of a contemporary home gives the show a physical presence with a surprise or two thrown in, thanks to lighting designer Sarah Hughey, sound designer Steve Ptacek and projection designer Jim Poole.
